Marina Rosenfeld is a 2019 Inga Maren Otto Fellow. She was born in New York and has been based there since 1999. A composer and artist working across disciplines, her work has explored experimental practices in sound and performance since the 1990s, when she mounted her first all-female electric-guitar ensembles under the name Sheer Frost Orchestra. She has had solo presentations by institutions including the Park Avenue Armory and the Museum of Modern Art in New York; the Whitney (2002 and 2008), Montreal (2016), Liverpool (2011) and PERFORMA (2009 and 2011) biennials; and the Holland, Borealis, Wien Modern and Ultima festivals, among many others. Recent projects include commissioned works for documenta14 radio, the Haus der Kultur der Welt in Berlin and the Donaueschinger Musiktage festival, and solo exhibitions at Portikus Frankfurt, the Bard Center for Curatorial Studies, and upcoming in 2019, the Artist’s Institute in New York. Rosenfeld’s collaborators have included Christian Marclay, George Lewis, Okkyung Lee, Annette Henry aka Warrior Queen, and Ben Vida, with whom her latest release, Feel Anything on iDEAL Recordings, was released in late 2018. She has also frequently created music for dance, including improvised music for Merce Cunningham Dance Company between 2004 and 2008, and composed scores for the choreographers Ralph Lemon, Maria Hassabi, and Douglass Dunn. Rosenfeld has been the co-chair of the MFA in Music/Sound at Bard College since 2007, as well as a visiting professor at Cooper Union, Harvard, Yale School of Art, and Brooklyn College.
Restless Productions NYC is and Obie and Bessie award winning production company, that excavates the theatrical and literary record to engage the past in a dialogue about its life in the present. The dismantling and repurposing of stories that have already been told is a practice in transformation, an attempt to create openings, to find away out and forward. Lead by director Mallory Catlett the company’s past work includes: two site-specific reconstructions of Shakespeare’s As You Like It and Richard The Second and a remix of Chekhov’s Uncle Vanya, called This Was The End and Archive, an installation based on that performance. Currently Catlett is working on M/F Future, pair of pieces inspired by the novels of Doris Lessing (Dead Time of Plenty) and William Burroughs (Decoder 2017) co-produced by the Chocolate Factory and a new opera adaptation of a Janet Frame novel called Rainbird co-produced by Experiments in Opera. The company has received financial, commissioning and residency support from Chocolate Factory, Gibney Dance, Theatre Conspiracy, Stony Brook University, CultureHub, Playwrights Theatre Center, the Collapsable Hole, Mount Tremper Arts, Nancy Quinn, Creative Opportunity Fund, MacDowell Colony, Performing Garage, Barishnykov Arts, LMCC, Mabou Mines/SUITE, Jerome Foundation, Yaddo, NYSCA, piece by piece productions and Creative Capital. Catlett is a recipient of a Foundation for the Contemporary Arts 2015 Grants to Artists Award.
Judith Hertog is an essayist, journalist, and teacher. Originally from Amsterdam, she settled in Vermont after having spent several years living in Israel, China, Tibet, and Taiwan. Although her first language is Dutch, she writes mostly in English.
She teaches college students as well as prison inmates. She also organizes storytelling workshops and events in her community because she believes everyone’s story should be heard.
Her writing has appeared or is forthcoming in the New York Times, The Sun, Tin House, Hotel Amerika, Tricycle Magazine, Tablet and many other publications.
Hertog is the recipient of a 2018 Association of Literary Scholars, Critics and Writers Fellowship at Vermont Studio Center and she was a fellow at the Virginia Center for the Creative Arts. She holds an MFA in Creative Nonfiction from Bennington College
Mountain Time Arts is committed to producing research-based artworks that address the social and environmental conditions of the Rocky Mountain West. These interdisciplinary projects are most often place-based and produced in dialogue with local scholars and residents. Creating new knowledges in the form of artworks allows for a complex interplay between diverse cultures and disciplines. This is both a nuts-and-bolts pursuit to move toward yet undiscovered conservation practices and a way to open dialogue about our different behaviors toward the land and each other. Their projects revise past fallacies, differentiate fact from legend and expose lesser known historical narratives.